Later developments and influence

"Medea" by Evelyn De Morgan, 1889, in Quattrocento styleArtists who were influenced by the Brotherhood include John Brett, Philip Calderon, Arthur Hughes, Evelyn De Morgan and Frederic Sandys. Ford Madox Brown, who was associated with them from the beginning, is often seen as most closely adopting the Pre-Raphaelite principles. After 1856, Rossetti became an inspiration for the medievalising strand of the movement. His work influenced his friend William Morris, in whose firm Morris, Marshall, Faulkner & Co. he became a partner, and with whose wife Jane he may have had an affair. Ford Madox Brown and Edward Burne-Jones also became partners in the firm. Through Morris's company the ideals of the Pre-Raphaelite Brotherhood influenced many interior designers and architects, arousing interest in medieval designs, as well as other crafts. This led directly to the Arts and Crafts movement headed by William Morris. Holman Hunt was also involved with this movement to reform design through the Della Robbia Pottery company. After 1850, both Hunt and Millais moved away from direct imitation of medieval art. Both stressed the realist and scientific aspects of the movement, though Hunt continued to emphasise the spiritual significance of art, seeking to reconcile religion and science by making accurate observations and studies of locations in Egypt and Israel for his paintings on biblical subjects. In contrast, Millais abandoned Pre-Raphaelitism after 1860, adopting a much broader and looser style influenced by Reynolds. William Morris and others condemned this reversal of principles. The movement influenced the work of many later British artists well into the twentieth century. Rossetti later came to be seen as a precursor of the wider European Symbolist movement. The Birmingham Museum and Art Gallery has a world-renowned collection of works by Burne-Jones and the Pre-Raphaelites which strongly influenced the young J.R.R. Tolkien while he was growing up in the city. In the twentieth century artistic ideals changed and art moved away from representing reality. Since the Pre-Raphaelites were fixed on portraying things with near-photographic precision, though with a distinctive attention to detailed surface-patterns, their work was devalued by many critics. Since the 1970s there has been a resurgence in interest in the movement.  

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